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This film, shot in 1955, focuses on a small band of /Gwi San living in the arid landscape of the central Kalahari Desert in present-day Botswana.
This film focuses on a black burglary suspect who, during interrogation by police offers his services as an "undercover" informant - providing the police will suppress his charge.
The police, looking for a suspect, question the wrong youth.
Follows police patrol cars 901 and 904 as they ply the streets of Pittsburgh, responding to diverse situations.
This film consists of sequences from the Pittsburgh Police footage intercut with a panel discussion moderated by Professor James Vorenberg of Harvard Law School. Community organizers, police, students and lawyers discussed the issues raised by four sequences, including the implications of the 4th and 5th Constitutional amendments, and the Exclusionary Rule of Evidence for search, seizure, and interrogation procedures. The film demonstrates the multiplicity of roles in police work, and examines the conflicts between how the police define their duties and what the public expects of them.
For thousands of years Ju/'hoansi have lived in the Nyae Nyae region in northeastern Namibia. In the 1950s, most Ju/'hoansi had been exterminated or were dispossessed by white colonists and black farmers, but in Nyae Nyae Ju/'hoansi were still the only permanent inhabitants. Waterless approaches isolated their ancient communal land and protected them from enslavement.
This film provides a broad overview of Ju/'hoan life, both past and present, and an intimate portrait of N!ai, a Ju/'hoan woman who in 1978 was in her mid-thirties. N!ai tells her own story, and in so doing, the story of Ju/'hoan life over a thirty year period. "Before the white people came we did what we wanted," N!ai recalls, describing the life she remembers as a child: following her mother to pick berries, roots, and nuts as the season changed; the division of giraffe meat; the kinds of rain; her resistance to her marriage to /Gunda at the age of eight; and her changing feelings about her husband when he becomes a healer. As N!ai speaks, the film presents scenes from the 1950's that show her as a young girl and a young wife. The uniqueness of N!ai may lie in its tight integration of ethnography and history. While it portrays the changes in Ju/'hoan society over thirty years, it never loses sight of the individual, N!ai.
In this wildlife drama, a worsening dry season in the Kalahari Desert leaves prides, packs and herds to rely on the power of family to survive.
In the remote and forgotten wilderness of Lake Natron, in northern Tanzania, one of nature's last great mysteries unfolds: the birth, life and death of a million crimson-winged flamingos.
Through deeply personal interviews with her siblings and an examination of the photographs, letters, and belongings left behind, Mariska assembles a new portrait of her mother Jayne Mansfield, an extraordinary and complex woman.